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I will come up with an artistic idea along any one issue or theme you require. This idea will be yours to use and develop as you wish. I will aim to make the ideas original. By this I mean that I will not conciously copy somebody elses idea. I can't however be held responsible for leaking of ideas from outside my brain which get lodged in my subconcious without my knowledge or the fact that the idea may already exsist wihout me having being exposed to it. All I would ask is for my name to feature on any publications, web etc which features the idea.

The least initial deviation from the truth is multiplied later a thousandfold
- Aristotle

It is a pleasure to announce “Initial Deviations,” an exhibition of works curated by Kara Brooks at Palisades. The exhibition intends to bring together the Bushwick community not only by featuring local artists, but also by taking place in a multipurpose venue.

The three artists in ”Initial Deviations” investigate mental images, waves of events and emotional expression through repetition. The subject matter gains velocity as it evolves in the process, resulting in an abstraction of the original idea. Instead of fearing the multiplication of these deviations, the three artists embrace the transformation, allowing the viewer to experience the original subject in a constantly changing form. As a grouping, these works illustrate the fragility and malleability of memory.

Solomon Alexander Chehebar’s paintings uncover figures amongst a expressionistic frenzy of colors on canvas. Instead of focusing on a specific event, he uses a variety of paints and textures as a therapeutic means, putting forth the embodiment of his individual experience.

The faces depicted in Claire Lachow's works are her endeavor to remember strangers she encounters. While Lachow intends for faithful portrayals, her recollections are as mercurial and unstable as her media of choice – ink and water.

In this series, Brian Stremick fantasizes about lands that he has never been to before and attempts to transport he viewer to a landscape that he charted himself. Much like the condensation of memories, his conté crayon drawings take their form what has occurred in the past – over time the straight horizon begins to wobble and become a series of random occurrences brought on by the hand.

BOSI Contemporary is pleased to announce The Absorbed Tradition an exhibition of 13 new large-scale works by Erik Madigan Heck, created during the early months of 2014. The images include landscape, portraiture and fashion-based photographs, which highlight the artist’s continuous interest in abstracting and reshaping the history of photography into a new hybrid form, while formally paying homage to the established medium.
In addition to comprising the exhibition, the images are featured in a special issue of CREEM magazine. Curated and photographed by the artist, the publication has been designed as an art book with two parts. The first section, entitled “Conversations on Photography,” focuses on the artist’s interviews with and portraits of high-profile individuals in the world of photography. Curators, directors, and fellow photographers — including Taryn Simon, Elinor
Carucci, Vince Aletti, Susan Bright and Kathy Ryan — are captured in in-depth features alongside their own work. The second section of the magazine is composed of Heck’s new works. Images range from portraits of Waris Ahluwalia in Haider Ackermann and Jamie Bochert in Ann Demeulemeester to a 40-page black-and-white book of portraits of Guinevere Van Seenus. The issue concludes with the third installment of the artist’s “Without A Face” series, originally commissioned by and debuted in New York Magazine. Here, it exists as a series of ambiguous “advertisements” made for a selection of fashion designers.
Erik Madigan Heck is a photographer, filmmaker, and writer. In 2013 he received an Infinity Award from the International Center of Photography for his work. He is a regular contributor to the New York Times Magazine, The New Yorker, W, and Harper’s Bazaar UK. He is the founder of Nomenus Quarterly and No Photos Please, and is the author of “January to August.” Heck is included in the forthcoming exhibition “Don’t Stop Now: Fashion Photography Next,” opening July 2014 at the Foam Museum in Amsterdam, with an accompanying catalog published by Thames & Hudson.

Wandering Scholars is an interdisciplinary symposium about contemporary culture, art, media and scholarship that focuses on acts of “walking” and “wandering” as strategies of thought and expression. It will consider the importance of processes of walking, elements of distraction, chaos, non-productivity, non-linearity and “failure”, as well as the fascination of a peripatetic way of disseminating knowledge. Whether we are making solitary journeys or moving in groups, we are constantly drifting and perceiving with five senses, or using technological devices, while sensing the rhythms and languages constituted by spaces, times and people. The symposium invites artists, scholars and audiences to develop participatory modes of education as acts of walking.

Journeys into sex art and knowledge will be shown and discussed at a "Long Table"**.

At 1pm the event will open with an appetizer and sparkling beverage. Next we will witness a performance art piece by Tobaron Waxman entitled The 71st Face . It is an cappella endurance performance for the transsexual voice that will
resonate with the cattle depot's architecture. More specifically he will sing songs in Yiddish, Hebrew and Aramaic about death and transformation.

At 2:30 pm there will be an intermission around the table with informal table chat and Dimsum.

At 3:15 pm the floor goes to filmmaker Fan Popo who will present a talk and movie segments entitled Queer Mobility and Home Sickness. As he describes:" My 'identity trouble' is not merely limited to sexuality; it is also about me as a filmmaker, a curator, an activist, a writer (sometimes).­ It is cool to engage in a variety of tasks within multiple fields, but this can be exhausting as well; traveling around brings me as much excitement as homesickness.

The program will conclude at 5pm with a dialogue by Nguyen Hoang Tang and Dredge Kang over a refreshing dessert.

** The Long Table format, invented by performer/professor Lois Weaver, is a means of generating open discussion about a specified topic, using a stylized environment and participation protocol to turn ordinary conversation into a performance. ‘The Long Table’ experiments with participation and public engagement by re-appropriating a dinner table atmosphere as a public forum and encouraging informal conversation on serious topics.

Absorption and Explosion, an exhibition on media and contemporary art which features two of the most promising Japanese artists of our time, Nobumasa Ikemori (Nobu) and Eiki Mori. Listed by Art Basel 2014 as a concurrent exhibition, Absorption and Explosion will run from 13th to 31st May.

On this occasion, Eiki has chosen the title “Hong Kong Obscura” for this exhibition, in which he will specially produce a new series of photos purely about Hong Kong, capturing the city’s energy, including portraits of people, streets, life and soul.

Nobu has chosen the title “Shin” (“belief”) for this exhibition, which will show his latest black ink paintings depicting the vitality of the human figure, animals, spirits and nature, giving a dynamic interpretation of living and life.

A major highlight will fall on 17 May (Saturday) when Nobu conducts two live painting sessions entitled “Burn! Okonomix”, held at 11 am and 3 pm at Cattle Depot Artist Village. Inspired by “Okonomiyaki”, a traditional dish from his hometown Hiroshima, Nobu’s recipe will include authentic ingredients for okonomiyaki which he will artistically blend with black into onto a vast canvas plate. To use his own words, Nobu will “make people alive, smile with super taste new vitality painting”.

In 2014 we're creating a Reading Room in Hamilton House, Bristol - a sanctuary for rare, unusual and beautiful books based on the model of user-generated library Mellow Pages in Brooklyn (www.mellowpageslibrary.com). All books in the Reading Room will be donated by a network of members, and displayed to view and peruse in a small dedicated space in the creative warrens of Hamilton House. (www.hamiltonhouse.org)

In the next couple of months we need some help to transform the space - painting walls, acquiring furniture, fixing new lamps and lights, potting plants, hammering nails in walls and cataloguing books.

If you can help please get in touch. Time/Bank hours to be paid for each hour of work contributed to the project. And if you'd like to join the Reading Room or find out more, do write.

Opening Reception: Sunday, April 27, 6-9 pm
Public walk with the artists: Thursday, May 1, 4pm

BOSI Contemporary is pleased to announce Linea, an exhibition of new work by Katie Holten and Mariateresa Sartori curated by Kathy Battista. The exhibition will consider the potential of drawing through works on paper, canvas, and cardboard, as well as video, found objects, and a series of walks.

The two artists were chosen for their investigations into drawing as an expanded field. Drawing is the basis of their work – as an act of mark making, a tool for mapping presence and a device for tracing actions. In the twentieth century drawing was freed from representation, effectively liberating it from the flat surface, enabling it to venture into space. Holten and Sartori use various means to obsessively map their place in the cosmos - Linea refers to the geological strata on the surface of a moon or a planet and in Italian it means “line”, the basis of all drawing.

Katie Holten’s Constellations are a series of new white-on-black drawings that resemble aggregations of stars. In fact, the basis for her images is not “outer” space but the landscape of the Earth; Holten uses the NASA Earth Observatory’s 2012 satellite images of the planet at night as source material. She recently completed a MOOC on Complexity at the Santa Fe Institute in which she studied how complexity emerges and evolves in nature, society, and technology. She explored the tools used by scientists to understand complex systems, including dynamics, chaos, fractals, information theory, self-organization, iteration, and networks. Holten is compelled by the imperative of examining how our collective history is embedded in landscape. The Constellations interrogate how the physical structures of humanity are interwoven with the natural world as they map specific places – networks of cities and towns – with their connecting arteries. In these drawings, Holten uses chalk formed during the Cretaceous period, which she collected while walking along a former seabed in western Kansas. The site is plotted in Constellation, the Midwest.

Mariateresa Sartori’s double channel video The Drawers shows her students drawing, their eyes looking at the camera, darting to the pages below, and back again. Their subject is Sartori herself. An exploration of looking and, potentially, power, it is, as Samuel Bordreuil says in the Linea catalogue, “between the Velázquez of Las Meninas and the Panopticon of Jeremy Bentham.” A related series of drawings by Sartori, 1 minute and 15 seconds of drawers’ gazes, depicts the eye movements of the same group of students in small drawings. Resembling a grid of electrocardiographs, it turns gaze into line. In The Progressive, Sartori translates into signs the compositional principles of Brahms’ 4th Symphony, turning Brahms’ branch-like musical structure into a rippling, undulating series of lines, iterating themes into networks much as Holten does with landscape.

Sartori and Holten find beauty in their investigations of systemic composition and line. Telling stories with literal and metaphorical maps, they work within a great art historical tradition, yet extend this lineage with their personal choice of subjects and gift for subtle gestures. In today’s world of frenetic, fleeting and ephemeral communications, Holten and Sartori write love letters for posterity, reminding the viewer that beauty is found in the slightest of movements and the rhythms and patterns of language.

Their common interest in mapping relates to the practice of walking, which brought the artists together in May 2013 when Holten was on a residency in Venice and walked the city as part of her Ten Years Later project in which she revisited her Irish Pavilion for the 50th Venice Biennale in 2003. For the duration of Linea, Holten will lead a walk every day. Joined by a diverse group—including artists, scientists, and writers—she will trace the urban landscape and 'mine' objects, while creating drawings and photographs. On May 1st at 4pm the public is invited to join Holten and Sartori on a walk.

The exhibition will be accompanied by a fully illustrated catalogue with texts by Kathy Battista, Samuel Bordreuil, and a conversation between Katie Holten and Sarah Sze.

Katie Holten (b. 1975, Dublin, Ireland) is an alumna of the National College of Art and Design, Dublin, Ireland (1998); Hochschule der Künste, Berlin, Germany (1997); Cornell University, New York, USA (2006); and Santa Fe Institute, New Mexico, USA (2013). In 2003 she represented Ireland at the 50th Venice Biennale. She has had solo museum exhibitions at the New Orleans Museum of Art, New Orleans, USA (2012); Dublin City Gallery The Hugh Lane, Dublin, Ireland (2010); The Bronx Museum of the Arts, New York, USA (2009); Nevada Museum of Art, Reno, Nevada, USA (2008); Villa Merkel, Esslingen, Germany (2008); and the Contemporary Art Museum St. Louis, Missouri, USA (2007). Recent group exhibitions include 1st Cartagena Biennale, Museo Naval, Cartagena, Colombia (2014); Contemporary Irish Art, BOZAR, Brussels, Belgium (2013); Light and Landscape, Storm King Art Center, New York, USA (2012); and Twenty, Irish Museum of Modern Art, Dublin, Ireland (2011). Her public projects include Ten Years Later, Venice, Italy (2013) and Tree Museum, Grand Concourse, Bronx, New York, USA (2009-2010). Her work is included in public collections including the Irish Museum of Modern Art, Dublin, Ireland; Nevada Museum of Art, Reno, USA; and the Bronx Museum of the Arts, New York, USA. She lives in New York City.

Kathy Battista is a writer, curator, and educator. She is Director of Contemporary Art at Sotheby’s Institute of Art, New York. She is the author of Re-negotiating The Body: Feminist Artists in 1970s London (IB Tauris, 2012) and the forthcoming New York New Wave (IB Tauris, 2014). She lives in New York City.

Video Art, Experimental Films and Music from the extreme remoteness of Papa Westray

Papay Gyro Nights Art Festival 2014: Hong Kong, one of the city’s most monumental events of media and contemporary art, is making its third annual return next month. Originated in a remote Scottish island named Papa Westray, Papay Gyro Nights is an annual celebration that reflects on the folktale, heritage, ritual and ancient tradition, interpreted by new media art. Riding along this theme, this year’s Hong Kong edition will comprise a diverse range of activities, including curators talks, video art exhibitions, experimental film screenings, and live performances delivered by more than 10 internationally renowned artists.

>>>11 April (FRI) – Live Performance: Construction in Kneading by Ryo Ikeshiro
8pm @Videotage
An absolute highlight of this year’s festival! In Ryo’s experimental “live audiovisualizaion”, the audio and visuals are generated from the same data and process and are thus perceived as a combined audiovisual entity.

>>>12 April (SAT) – Screening: Incoherent Cinema
8pm @Secret Location in Sham Shui Po
Film installations, films and film projects based on the International Incoherence Manifest.

Bosi Contemporary is pleased to present The Stadium by Jon Plasse, a debut exhibition in New York City, featuring photographs of the original Yankee Stadium. The show’s emotionally charged images highlight Plasse’s frequent visits to Yankee Stadium in the last years of its existence and its demolition in 2009. Plasse returned to the site to photograph the current baseball diamonds that rest in the shadows of the new Yankee Stadium in 2013. The Stadium is a fitting tribute to one of baseball’s most storied icons, and the opening of the exhibition corresponds with the beginning of the 2014 baseball season.

The black and white photographs recall Plasse’s own childhood memories of going to Yankee games with his father and recreate these moments from a childlike perspective. These compositions include the perspective of a young fan looking up at the towering walls of the stadium; walking through the cavernous hallways and seeing the grass and infield dirt; waiting expectantly for one of his stars to hit his 500th home run; and leaving the stadium, eyes ground ward, after witnessing a loss by his team.

The images are both human and relatable and present the shared experience of going to a game. Plasse portrays intimate instances in which the Stadium often has a stillness to it; as noted by The New Yorker, Plasse’s “camera is focused less on the game itself and more on the atmosphere the game creates.”

Jon Plasse is a fine arts photographer, as well as a long time Yankee fan. His books include, “The Stadium,” a series of images of the original Yankee Stadium, published by SUNY Press in 2011; and, “The Light Remains,” a series of images of his mother and her Long Island home. A presentation of The Stadium was exhibited at Binghamton University in April 2013. Jon Plasse lives in New York City.

I am looking to form a time bank system in order to pay down our student debt. This will begin as an online representation of the unpaid work we do through internships, volunteer jobs, and work that is not usually defined as work (i.e. baking cookies for your neighbors). What will begin as a conceptual project will evolve into something more groundbreaking where Sallie Mae and the federal government may start to see value in our work and accept our time as a form of currency to relieve our debt.

- A group of collaborators
- A someone who knows how to build an open platform website like this one
- Help with publicity
- Help contacting organizations/businesses that would be willing to give "timedebt" credits to their unpaid workers
- Help figuring out how to get our creditors to accept these time credit payments as debt payments